| It's more complicated than that, and at the same time, more simple. In order to answer that question, I'd need to know more information about the context of the "borrowed chord", which would determine a lot about how I heard that chord. Also, a lot would depend on how my fellow musicians were hearing the chord at the time, and who was "leading" ( I usually consider the person soloing to be the de facto "leader" at that point). Many times, different soloists will hear changes differently, and as an accompanist, my job is to make them sound good if possible.
For instance, on the tune "Nardis", there's a guy in town who likes to play AMa7 on the first chord of the bridge. When he's soloing, I play AMa7. But when I'm soloing, I usually hear that harmony as minor, so that's what I play.
In the case of your example, it's good to remember that minor chords are usually the same basic "minor" sound, with the 6th and 7th degrees of their corresponding "scale" (if you think that way) being able to go either way the band is hearing. When I'm playing a new tune that I'm still learning to hear, or if I'm unsure about what somebody might do, I'll usually play only the notes that I'm pretty sure won't get in the way...in the case of Fmi, that would be F, G, Ab, Bb, and C. "D" would be likely be the 6th of preference, and I'd just avoid any form of "E" whatsoever until I heard what the soloist was hearing, or play both in an ascending or descending line, which would still leave both options open.
Last edited by Chris Fitzgerald : 10-23-2004 at 03:03 PM.
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